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No worries--you definitely hit the cute on this one! We’ve got an adorable Alolan Vulpix chillin’ in a (hopefully fake [sweats]) Vanilish costume. You’ve set up this work almost like an advertisement, so I’ll be critiquing both the art itself and your treatment of it!

Lemme tell ya’, Morru: your technical ability with a mouse will never cease to amaze me. You always manage to have the steadiest lines and the cleanest curves--almost to the point where I wonder if you’re using the pen tool on certain curves, like that beautiful one on our left side of the Alolapix’s tail. Your line weights are clean and consistent, and have pleasant rounded edges that help add to the softness of the work. Your use of curved, organic lines in this one really help drive its cute and playful tone.

There are a few parts that I’d watch with your clean linework. The first part is where two different lines meet to form a concave angle (like here on their curls). It’s easy to stop a little short so that the rounded brush doesn’t go through the line that it’s attached to, but in this case it’d be worth it to size down your brush and be sure that line completes fully. That tiny space left by the detachment draws my eye a lot more than I expected, because that little sharp space creates a lot of tension in an otherwise soft work. We also see this where the edge of the mane meets the cherry. Also watch spaces like the bottom of the Alolapix’s ear tuft line, where it comes extremely close to meeting but not quite--I can’t tell if that’s an intentional endpoint or a mistake due to how close it comes to touching! The same goes for spots like this, where your line folds a little messily over another ones. Overall, your line work is incredible--that’s why I’m having to get down to the nitty gritty to pick out mistakes.

The other thing I noticed is the weight on the eyes. The outline on the eyes is much thinner than the rest, to the point where it stands out. Making it as heavy as the rest might be too much, but I definitely think you could do with increasing the weight on it to give the outline a little more presence, or just doing it in select places to prevent some sort of heavy-eyed look.

As far as form goes, you’ve combined the two Pokemon in costume amazingly. While anatomically, Alolapix might be a little more slender and more lanky leg-wise, I think the way you’ve drawn it seems intentional with the rest of the cartooned style. The way you’ve rendered the paws are simple but effective--while the arm shape doesn’t necessarily changed, you’ve used the lines of the toes to show where the limb is turning in space, and it’s a nice effect. The only thing with that that I’d critique is our right limb--the bumpy edge of the light blue would also turn with the toes if it’s meant to be as consistent as the other limb’s. You’ve nicely captured the flowy, whirliness of the tail edges. Our left side of it looks almost a little too close to a regular Vulpix in the way the two curls almost look separated thanks to the arm blocking them, but the right side reinforces that the entire tail is connected, which is a good touch. Love your stylistic shift of its head fur to mimic whipped cream.

Definitely watch the Alolapix’s ears and how slender they get. Overall, the Alolapix has a lot of wide, colored space on its body. So much of their detail packed into one spot on the ears make them a major focal point. The default art shows a bit of the back and the top of the ear cups--perhaps bringing that upper line a little further away would have helped open up that space a little.

On the Alolapix anatomy, the only other thing I have is the lack of any haunches. Where and how the Alolapix is sticking out of the cone becomes a little unclear. The way the entire lower paws are the lower blue makes it clear that it’s likely that beneath-the-crook part (very scientific term) of the Alolapix’s back legs, but where are the upper parts? It’s not entirely clear how the lower legs are being freed from their icicle prison. I think you could have used the side rhombi for this, “cutting” them out of the costume and showing the rounded forms of the haunches supporting the lower limbs.

Your Vanillish accents are nice! You’ve replicated the geometric patterns on the cone well, and also adorably accented the cheeks with Vanillish’s icy accents. These are great touches. The only critique I have on the Vanillish parts are the side rhombi on the cone. The left one especially looks off; I think the “why” is best illustrated by highlighting the difference in these two angles. The way the bottom one is much more shallow than the top makes the rhombus seem tilted downward, when in reality, if the cone is curving back and away, it should be at least even or tilted slightly upward.

As a side note, unrelated to anatomy but instead your accents: the cherry is nicely rendered, but the way it doesn’t sink into anything makes it seem like it’s just floating at its head. A simple curved line over the bottom tip of it to make it seem like it’s sinking into the head fur will remedy this!

Your colors are fantastic. You’ve beautifully captured the shifting hues of its eyes, and the way you’ve used subtle color shifts on the cheek accents helps give them geometric dimension. The cherry red is a great compliment to the Dairy Queen’s bright red, and gives a nice touch of warmth to the work. Its bubble-edged shading is great stylistically.

Your shading is subtle, with the shadows’ blue tones keeping them from being too out-of-place. However, I’m a bit thrown on your light source--the shininess of the cherry cements that we’ve got something coming from the upper right, but you’ve shaded most of the edges of the whipped cream mane and tail with the same thickness as the sides that are away from the light. Shading the edges even on a light side can help with a touch of dimensionality, but it needs to have some difference in thickness or darkness from the darker sides to make the impact that you’re wanting. Overall, though, the simple shading helps compliment the softness of the work! It was a great way to approach it stylistically.

Your design here is fantastic. You’ve composed this so much exactly like a Dairy Queen advertisement that I would have been convinced. You’ve got all of the components: the light blue gradient background, the the curled-serif accent text, and a mimicry of its signature logo and red. Your shift of the logo is fantastic--great job on matching the typeface. My only critique on it is that you could try the F a little larger, since the D on the original is almost close to touching the leftward boundaries of the red background. Your version seems a little lopsided due to the original Q almost touching, so if larger doesn’t look right (the F character may just be intrinsically less wide than the D), I’d just shift the FQ to be centered inside of the shape to balance it a bit more.

The snowflake background doesn’t seem to be modern with their advertisements, but they’re well-placed and unobtrusive that I would have been completely convinced if you told me that they use it. Nice job.

Your white text outline matches stylistically with their logo, and really helped set the frosted tone. You’ve also stylistically matched their “BLIZZARD” logo. At this point, all you’d have to do is turn the Alolapix and cone upside-down and I’d definitely believe it were a real advertisement, haha.

Overall, incredibly solid work. You’ve created a great, stylistic combination between two Ice-types, and placed it on a matching design that fits to an obvious (advertisement) theme. Even your signature works to be unobtrusive but still effective. Your attention to detail here is fantastic--just watch the few places I pointed out, especially where your lines meet. Great work, as always. Everything looks clean, thoughtful, and like it completely belongs. I’m happy to say Alolan Vulpix captured!